I am enjoying a sabbatical leave from teaching paid in service to my department and university. I am finally getting into a writing groove. Hawaiian Songs Ancient and Modern is taking shape, now that I finally have the wherewithal to sit at home, ignoring all emails, declining requests for promotion evaluations and recommendation letters, allowing myself to be released from the obligation to attend any number of events and “networking opportunities,” and generally holding just about anything I can beyond armʻs length. (The wall oven installation carnival of errors with Loweʻs has been, in hindsight, quite a focus-buster. But life goes on . . . )

Just to let you all know, I have been updating the running bibliographies of Hawaiian music and hula on this site–point to “Bibliographies” in the menu above. I am so happy to see a growing community of scholars producing exciting new–and even award-winning–scholarship. Off the top of my head at the moment, doctoral dissertations from Jace Saplan and Andrea Low, mastersʻ theses from Guy Cundell and Eugenia Conte, books from John Troutman and J. Revell Carr (both winning major awards), a wonderful article in the latest volume of Hawaiian Journal of History (2017) titled “The Gospel Roots of “Hawaiʻi Aloha” by Ralph Thomas Kam. We are all blessed that new knowledge is moving forward and gaining momentum!

CDs — the action is on Facebook, folks. Even Mele.com canʻt keep up! Simply because the distribution system has totally disintegrated, so anyone outside the Mountain Apple Co. orbit has been reduced to self-releasing and selling product at gigs. And that is presuming anyone is still purchasing CDs, because we are now all watching videos on YouTube and Facebook: ʻOiwi TVʻs series “Mele Ma Ka Lihiwai,” the long-running HI Sessions YouTube channel, the weekly “Pakele Live” now streamed live, are some of the highlights, as well as uber-fans like Norm Markowitz posting videos from various venues and events in California . . .

Note: Iʻm still buying CDs whenever I can get my hands on them, because that is the only way to get the liner notes!!

And let us all send heartfelt aloha to Aunty Wanda Certo and her ʻohana in this time of illness!

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The National Jukebox, presented by the Library of Congress, includes more than 10,000 recordings made by the Victor Talking Machine Company between 1901 and 1925. Sony Music Entertainment, which now owns the recordings, has granted the Library of Congress a license to stream these recordings.

You can listen to the recordings on the National Jukebox site!!

Hawaiian Recordings:

I found 138 recordings by searching on the following keywords: Hawaiian, Hawaii, aloha, hula. In addition to songs well-known and well-loved by Hawaiian audiences, this list also includes two other kinds of songs:

Commercial Hawaiian-themed songs generated by the songwriting industry located in New Yorkʻs “Tin Pan Alley;” songs of the sort that Hawaiian musicians and audiences alike would reject;

Sogns on the B-side of recordings by national artists like John Philip Sousaʻs Band or the Victor Military Band.

In other words, this list is simply reporting the results of keyword searches.

This list orders the 138 recordings by the date of the recording session identified in the cataloging records. Itʻs actually kind of fascinating to take this kind of birdʻs-eye view of data before starting to sift through it. (Think about it: Iʻm all for questioning something like “Hu-la Hu-la Cake Walk” by Sousaʻs Band, and “Kicky-Koo, Kicky-Koo” by the Green Brothers Marimba Orchestra as not Hawaiian. But what about “Ka-lu-a” by Edna Brown & Elliott Shaw? Or “Alabama Moon” by the Hawaiian Trio? On what basis of Hawaiian song, Hawaiian artist, and Hawaiian “theme” are lines to be drawn?) Also notice: Hawaiian artists predominate until 1916, then thin out as mainland artists come in–with more Tin Pan Alley kinds of songs.

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The Library of Congress presents the National Jukebox, which makes historical sound recordings available to the public free of charge. The Jukebox includes recordings from the extraordinary collections of the Library of Congress Packard Campus for Audio Visual Conservation and other contributing libraries and archives. Recordings in the Jukebox were issued on record labels now owned by Sony Music Entertainment, which has granted the Library of Congress a gratis license to stream acoustical recordings.

The Jukebox includes more than 10,000 recordings made by the Victor Talking Machine Company between 1901 and 1925.

Hawaiian Recordings:

I found 138 recordings by searching on the following keywords: Hawaiian, Hawaii, aloha, hula. Mind you, this list includes commercial Tin Pan Alley songs of the sort that Hawaiian musicians and audiences alike would reject, and it the list includes songs on the B-side of recordings by national artists like John Philip Sousaʻs Band, or the Victory Military Band.

Here is a list of song titles. In future posts Iʻll sort the list by artists, and by recording dates. Spellings are as they appear on the National Jukebox.

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Hello Dear Readers! Iʻm working on the song “Noho Paipai.” Itʻs one of the songs in my critical edition project. The lyrics were published in 1946 in a collection of John Almeidaʻs songs, with translations by Mary Kawena Pukui. Among the earliest vocal recordings, there are at least two different tunes, and one of them in two variant forms in the first phrase. The playlist assembled here includes early vocal recordings I could find on YouTube. The datings of these recordings are based on the incredible research of Malcolm Rockwell and his award-winning discography Hawaiian & Hawaiian Guitar Records, 1891-1860 (Mahina Piha Press 2007) .

1938: The earliest recording I could identify is this instrumental medley of “Noho Paipai” and “ʻAʻoia” by John Almeida. It appeared on the Hawaiian Transcriptions label, and Malcolm dated the recording session to 1938. The track was reissued on the 49th State Records Strum Your Ukulele (LP-3423) in the late 1950s. Given the fact that this is an instrumental that invites instrumentalists to take the spotlight, one would be hard-pressed to use this recording as the basis for declaring what Almeidaʻs composed melody is.

ca. 1950: Johnny Almeida with Julia Nuiʻs Kamaainas on 49th State Records (HRC-64). This is NOT the earliest vocal recording; it is simply the earliest vocal recording I could find on YouTube. It was preceded by a recording by Randy Oness in 1945, and Danny Kuaana in 1946. The cool thing is, here is the composer singing his own composition.

ca. 1951: Here is John Piilani Watkins, on 49th State Records, singing a different tune. This tune was also used on recordings by Tommy Blaisdell (1952), Pauline Kekahuna (1958), and the Brothers Cazimero (1998).

1965: Genoa Keawe!! Doing her thing with the final cadence at the end of each verse.

1974: Kawai Cockett. ʻUkulele strumming at warp speed. Pay attention to the tune in the 2nd line of each verse. Compare it with John Almeidaʻs ca. 1950 recording above, and also with Genoa Keaweʻs 1965 recording. See where Iʻm going?

Bonus Tracks

Nothing beats the fun of live performance. Here is Jake Shimabukuro playing with the Makaha Sons at the Songs of Aloha concert, Hawaiʻi Theater, 2000.

Still one of my favorites: hereʻs Manaʻo Company in a 2012 live Pau Hana Fridays performance in Hawaiian Airlines premier lounge. Featured guest performer is Hawaiian Air baggage handler Kaulana Pakele.

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From July 7 through July 9, 2017, the Smithsonian Asian American Pacific Center will host ʻAe Kai: A Culture Lab on Convergence at the former Foodland space in Ala Moana Center. The 3-day art exhibition features 50+ artists and practitioners from Hawaii and beyond. This is a markedly different project for us, and as participants we are honored to have this opportunity to find new ways of presenting Aloha Got Soul and the stories behind this music we’ve been digging over the years.

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Jon Osorioʻs powerful 2010 commentary in Honolulu Civil Beat is making the rounds on social media once again. Speaking of Hawaiian conceptions of independence, Jon offers a powerful statement on ea:

Independence — ea — for us was a basic right that was enshrined by law. We may either give in to the cynicism of the age and in the face of such enormous power wielded by the United States, conclude that self-determination is a foolish delusion, or we can press Americans to live up to a better standard of behavior and perhaps, a better version of themselves. But in the end, it is more important that we Hawaiians refuse to surrender our own faith in ea.

I returned to a memorable recording to revisit one of the Kingdom of Hawaiiʻs national anthems, “He Mele Lahui Hawaii” by (then-) Princess Liliʻuokalani. Here it is again, with all three verses. The track is performed by the Rose Ensemble of St. Paul, Minnesota. Their hard work on the ʻōlelo paid off handsomely.

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Hello Dear Readers! I have “Ka Ipo Lei Manu” on my mind a lot these days. It is one of the songs to be included in a book project that has been many moons in the making. (Long story for another time.) Just blitzed through a marathon over the last 3 days of mapping 45 different recorded versions.

My top 5 favorites:

#5 Dennis Pavao. From the album Wale No (Pilialoha Records), 1996.

Boy, Uncle could sing! His voice was set in a lush resonant mix of guitar with ʻukulele notes sparkling atop the arrangement. This was my favorite version for a long time. It still is a go-to when I need to reconnect with things Hawaiian (like after a semester ends).

#4 Brothers Cazimero. From the album Live (Mountain Apple), 1993

Iʻm a child of the 1970s. These are the Brothers Cazimero still scaling the peaks of their career as one of the premier entertainment groups to ever grace Hawaiʻi stages. What can I say? When two voices blend so evenly and soar so effortlessly, what more need be said? [I canʻt find a video on YouTube.]

So much going on in this track. For starters, Danny sings! Then on this track, he and Jamaica Osorio trade off solos and duet together. The tune that they sing goes back to the original published tune from 1892–very plain, letting the mele speak. The mele — it is complete here, all thirteen verses. Then the arrangement — a cumulative entry of guitar, then bass and drum rim shots, and then bass and drum kit in full swing on the haʻina verse, then pulling back to guitar by the end. And the voices–two plaintive voices for a plaintive song about love that turned into loss.

#2 (tie)

I am a scholar of music. So I get excited when I hear original moves. This is when I know that artists are not merely replicating what theyʻve inherited, but they are bringing thoughtfulness

This particular recording is really cool. In hula kuʻi songs are usually symmetrical–where each line has the same even number of beats. In this arrangement, the first line is 8 beats, but the second line is 6 beats. The words still fit, even though this track is all instrumental. But the other thing that is happening is the interaction and exchange between the shakuhachi gradually adding ornamentation that is echoed in the guitar. You have to hear this track. Apparently you can do so in the free tier on Spotify. (There are YouTube videos of Jeff performing the song live, but itʻs not the same arrangement as on this particular recording with Riley Lee.)

Steven Espaniola. From the album Hoʻomaopopo (SheGo), 2013

Another really really thoughtful musicianly innovation here. The symmetrical hula rhythm got traded in for a waltz-time. But because of heavy accenting on the downbeats, thereʻs a strong feeling of the three beat sets coming in groups of two. Then sonically — Stevenʻs singing is interlaced with kumu hula Kawika Alfiche chanting the less-sung verses. Way cool.

My current most favorite treatment of this poignant mele. It is wrapped between the first verse and chorus of “Aloha ʻOe. The mele begins with daughter Natalie Ai Kamauʻu trading verses with father Howard Ai. The two vocalists build up the texture by gradually extending their range higher and higher, while cumulatively expanding their vocal flourishes. The voices are propelled along with the distinctive piano stylings of Aaron Salā, who embodies a clear understanding of the pianoʻs role to support forward momentum.

And there you have it. Six arrangements that soar. They carry me off on the winds and clouds of song. What about you, Dear Readers?

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Dear Readers, many of you know that my research has focused on historical aspects of the hula kuʻi tradition.

Many of you have asked me, over the years, why I use the term “hula kuʻi” even when Iʻm talking about songs, especially when it is not clear that some of those songs were actually danced as hula. Over the years Iʻve done the conventional scholarʻs tactic of formulating more precise yet cumbersome wordings like “mele in the format of hula kuʻi” and even “mele in the format of songs for hula kuʻi.”

And some have asked why I choose not to use the term “mele kuʻi” when Iʻm talking about mele but not necessarily about hula.

In cleaning out my email account last week, I came across email exchanges from twelve years ago, asking me these very questions. Hence I began to think about these questions again. Then I went back into my collection of sheet music, photographs, and notes. And the answer stared back at me.

This is the cover of sheet music published in 1892. (I had the extreme fortune to win this item on eBay many years ago.) Both songs are labelled “HULA KUI“. Do we know whether “Ipo Lei Manu” was actually danced then? Queen Kapiʻolani composed it while King Kalākaua was in San Francisco seeking medical care. He died in San Francisco without hearing it. This 1892 publication is months after his death and funeral. Was it actually danced at that time? Hard to imagine, isnʻt it? And yet, when the sheet music is published, it is identified as “HULA KUI“.

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Hello Dear Readers! Iʻve been quiet here for awhile, as my “day job” kept me quite occupied, and this past year was especially intense for all kinds of reasons. So I thought Iʻd start up my return here with some random observations.

So much continues to happen in Hawaiian music. Kalani Peʻa was the first Hawaiian artist to win the Grammy Award in the vexed Best Regional Roots category since it was rolled out in 2012. Social media was abuzz over that milestone . . . for better and worse. It is undeniable, however, that the musicianship and the production are original in fresh and welcome ways. The trio Keauhou swept the Nā Hōkū Hanohano awards in May with their commitment to perpetuating cherished notions of excellence.

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Our lives and the world we live in are blessed and enriched by the presence of artists. These are the folks who render all manner of human experiences into visions–of truth and authenticity, of terror and horror, of connection and alienation, of groundedness, of aloha; visions that challenge as well as affirm our shared humanity, visions that inspire us to see beauty in the world and in each other.

We live in a time when artists face challenges to their livelihood, and to their very ability to continue making art. Thus at this time of holiday merrymaking and gift-giving, I am moved to make these recommendations because they call attention to artists who are making art in spite of the obstacles. This is precisely why their efforts as well as artistry deserve our support.

The Natives Are Restless: A San Francisco Dance Master Takes Hula into the 21st Century (naleihulu.org)

A lavishly illustrated account of Kumu Hula Patrick Makuakane and his San Francisco hālau, Nā Lei Hulu i ka Wēkiu. Kumu Patrick has achieved what a generation ago was completely unthinkable: He has built a hula school of note in San Francisco into a 350-person non-profit arts powerhouse in the cityʻs artscape. His singular vision of hula mua (explained by author Constance Hale as “progressive hula”) walks that fine line between preservation, perpetuation, and innovation. Honoring heritage and legacy, but also honoring a deep artistic impulse to be creatively generative, he “radically upends tradition and brings hula raging into the twenty-first century” (p. 21). Extending himself technically and administratively as well as artistically, his full-length theatrical productions have garnered critical acclaim not only in California and Hawaiʻi, but nationally.

These remarkable accomplishments are related by Constance Hale, a journalist of national stature who is also a haumana in the hālau. Although you can order the book on Amazon.com, please support Kumu Patrickʻs artistry by ordering it direct from the hālau at naleihulu.org.

The Haumāna Hula Handbook for Students of Hawaiian Dance, by Māhealani Uchiyama (North Atlantic Books, www.northatlanticbooks.com)

For the hula student in your life! This is a well-written and well-presented compendium of basic information for those immersed in learning the dance. Because we all know that hula is not merely dance. It is much more than dance itself. It is protectively wrapped in ritual and protocol; it is saturated with culture and language; it is a vessel for the stories of ancestral gods, warrior rulers, and kamaʻāina. Kumu Māhea is the founder and artistic director of the Māhea Uchiyama Center for International Dance as well as kumu hula of Hālau Ka Ua Tuahine in Berkeley, California. Her hula training includes years as a student in Hawaiʻi at Hālau Hula o Maiki as well as University of Hawaiʻi, culminating in study with renowned master Joseph Kahāʻulelio.

Hālau Ka Ua Tuahine has been featured in the San Francisco Ethnic Dance Festival many times. Her commitment to excellence also deserves our continued support.

Kalani Peʻa. E Walea (Kalani Peʻa Music LLC, 2016)

Singer/songwriter Kalani Peʻa brings new excellence to Hawaiian music in his debut album that invites us to “relax, enjoy, dance”– e walea. Kalani is of the generation immersed in ʻōlelo, having graduated from Ke Kula o Nāwahīokalaniʻōpu’u. Yet he is also a Hawaiian of the here and now, who brings soul and R&B into his singing. The album brings us eight new Hawaiian-language compositions, six of them by Kalani himself, as well as two English-language cover songs, translated into Hawaiian by–Kalani himself. Musically he surrounds himself with first-class expertise: Kamakoa Lindsey-Asing co-producing as well as playing guitar and bass; steel guitarist Casey Olsen and pianist Iwalani Hoʻomanawanui Apo adding flourishes, and Dave Tucciarone co-producing and engineering.

E Walea has the exceptional distinction of receiving a 2016 GRAMMY nomination in the “Best Regional Roots Album” category.

Stellar production and a GRAMMY nomination are great. But this album and this artist deserve our support simply because of its excellence. He ʻoi aku, a he mea laha ʻole.

You can find this album on iTunes and Amazon, but please do consider supporting an independent Hawaiian business by ordering from mele.com or Me Ke Aloha (mkaloha.com), or stopping in at Nā Mea Hawaiʻi in Honolulu, Basically Books in Hilo, or Native Intelligence in Wailuku.